In any case the output for earphones has usually been modified by bass and treble filters and is no longer true to the original sound, so it’s not a suitable quick solution, however tempting it might look. Earphone outputs are rated in milliwatts, and are definitely too powerful for microphone inputs, and generally for line inputs too.If in doubt, check your equipment manuals. This usually includes the output from a separate microphone amplifier (don’t connect it to a microphone input). and between hi-fi units, and anything labelled line or aux (auxilliary), are matched to a computer line input. Outputs of hi-fi preamplifiers, recorders, radios etc.Some microphones need power, either batteries, or phantom power supplied through the cable from equipment that can deliver it. Professional equipment will usually have a switch to set the correct sensitivity, or to insert a damping component ( a pad) to weaken the signal by perhaps 20dB.

Computer microphone inputs rarely distinguish them. Microphones are built for one of two sensitivities, usually denoted 200 or 600 Ohms, or simply hi or lo. Microphone inputs are extremely sensitive, connect microphones only.This section provides some notes and advice on the concepts of channels, tracks, mono and stereo signals, connecting mono and stereo signal sources, storing and opening stereo files, and recording and playing back mono and stereo signals. Connecting mono and stereo sound sources Praat analyses mono sound, but there is also support for working with stereo recordings in order to meet the growing number of sound sources and recording devices that only work in stereo.

Slate digital support for mono